Daynah Burnett

Rather than manipulate our established fears by way of the threat to personal security, this show asks us to examine what makes us individuals in the first place.


Airtime: Wednesdays, 10pm ET
Cast: Jeremy Sisto, Delroy Lindo, Dana Delaney, Timothy Hutton, Mykelti Williamson
MPAA rating: N/A
Network: NBC
US release date: 2006-09-20

Missing persons investigator-for-hire (Jeremy Sisto) is named Knapp. I hate this, and so will anyone smart enough to enjoy a show laced with existential dilemmas and complicated characters.

But even if we resent Kidnapped's hackneyed set-up, we can appreciate its twists of character and philosophy. The hackneyed part goes like this: just as he's about to retire, FBI Agent Latimer King (Delroy Lindo) learns that the high profile Cain family's teenaged son Leopold (Will Denton) has been kidnapped. He decides he has to work just one last case. Super-rich Conrad (Timothy Hutton) and wife Ellie (Dana Delaney) head a literally picture-perfect family. The episode begins as a photographer from the Times arrives to snap shots for a "Breakfast with the Cains" feature. Mommy and Daddy smile alongside Leopold and his little sister Alice (Lydia Jordan), positioned just-so beside elaborate fruit bowls and a sweet West Side view of Central Park.

The Cains seem rich and happy enough, but the foppish Leopold is a little too fragile and affected: he speaks French, listens to Good Charlotte, and first appears floating in still water, eyes closed and arms outstretched. And unlike his two sisters, he already has a fulltime body guard, Virgil (Mykelti Williamson).

Virgil is swift to sense predators endangering his precious white cargo, but the Cains treat him more like a servant than a highly skilled professional. On his arrival at the house, Alice chides him, “You’re 28 seconds late,” and it’s all too unclear if she’s joking. At the same time, he can tell a tea rose from a hydrangea; clearly, he's too sharp to be putting up with such nonsense.

But he's about to get a nasty wake-up. When Leopold is snatched in midtown Manhattan on Virgil's watch, the blood splatters and the music quickens. The snipers on the scene reveal it's a highly orchestrated affair, shot from various angles, with fast cuts and overexposed lighting. Once Leo is gone, the show cuts to commercial, then returns to start again in earnest. The ransom note instructs, “Don’t Call the Police.” Seeing as the Cains struggle maintaining their day-to-day activities (their Latina housekeeper must intervene when Conrad accidentally makes his daughter a peanut butter and mayonnaise sandwich), they're at a loss as to what to do in this crisis.

Enter Knapp. Bearded and shifty, he's unaffiliated and ready to help, for a price. He seems worth it: his only goal is to bring back the missing person "intact," unlike the Bureau, who also want to prosecute Leopold's captors, perhaps jeopardizing his safety. Given his profession (and again, his name), Knapp's detachment seems like a persona. As Knapp coldly lays out his terms of service, Ellie observes that he's "not very good with people." He delivers the canned answer: "No, but I'm good at finding them."

To make sure we know how good, the episode flashes back to Knapp engineering a vigilante-style rescue of a similarly kidnapped girl from a secluded farm house. He doesn't utter a one-liner or gratuitously shoot villains; he just does his business and gets the hell out, returning the girl safe and sound to her thankful and wealthy parents.

While this backstory seems unexceptional, it also begins to reveal some of Kidnapped's thematic layers. As much as Knapp ostensibly symbolizes the dueling state interests (the good of the citizen versus the good of the collective), he also symbolizes dueling individual interests (his service versus his "non-negotiable fee"). Soon enough, he and King are pitted against one another, each refusing to assist the other, though their goals are seemingly the same.

As we sense Knapp's awareness of his own brand of anti-heroic hypocrisy, we get a look at the chief difference between Kidnapped and those other crime/cop/nabber shows. Rather than manipulate our established fears by way of the threat to personal security, this show asks us to examine what makes us individuals in the first place, suggesting that our sense of identity can easily be taken from us -- by external forces or our own choices (informed as these may be by other forces).

Knapp appears sanguine with this condition. His proficiency as a "finder" isn't explained in supernatural terms; neither does he have any superb professional intuition. Instead, he listens, contemplates, and ask Socratic sorts of questions, a change from the tech-heavy crime-solving currently saturating primetime. When Knapp encounters a dense Buddhist epistemology text in Leopold's bedroom, his associate Turner (Carmen Ejogo) asks him, in jest, if he's read that one. His serious response, "Not that translation," emphasizes the show's other themes of subjectivity and interpretation.

I suspect the show is in control of its complexities, as it's littered with references to obscure theories and dense texts (Julian Jaynes' The Origin of Consciousness and the Bi-Cameral Mind for starters), including Ellie's highly philosophical monologue that closes the first episode, questioning her significance in a world so busy and so large. Such interest in metaphysics and self-reference suggests Kidnapped will pursue some kind of enlightenment along with the return of its missing person.


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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